Poems of the Heart and Home — Text and Context
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The source record for Poems of the Heart and Home — Text and Context measures this digital text at 46,805 words, 3 hr 24 min estimated reading time, and 6 detected text sections.
The text analysis averages about 25.7 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Canadian poetry -- 19th century,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
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Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
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Gorgeous was every hill-side, And gorgeous every nook, And the dry, old log was gorgeous, Spanning the little brook; Its holiday robes, the forest Had suddenly cast to earth, And, as yet, seemed scarce to miss, them, In its plenitude of mirth.
I walked where the leaves the softest, The brightest, and goldenest lay, And I thought of a forest hill-side, And an Indian Summer day,-- Of an eager, little child-face O'er the fallen leaves that bent, As she gathered her cup of beech nuts, With innocent content.
I thought of the small, brown fingers Gleaning them one by one, With the partridge drumming near her In the forest bare and dun, And the jet-black squirrel, winking His saucy, jealous eye At those tiny, pilfering fingers, From his sly nook up on high
Ah, barefooted little maiden With thy bonnetless, sun-burnt brow, Thou glean'st no more on the hill-side-- Where art thou gleaning now? I knew by the lifted glances Of thy dark, imperious eye, That the tall trees bending o'er thee Would not shelter thee by and by.
The cottage by the brookside, With its mossy roof is gone;-- The cattle have left the uplands, The young lambs left the lawn;-- Gone are thy blue-eyed sister, And thy brother's laughing brow; And the beech-nuts He ungathered On the lonely hill-side now.
What have the returning seasons Brought to thy heart since then, In thy long and weary wand'rings In the paths of busy men?-- Has the Angel of grief, or of gladness, Set his seal upon thy brow? Maiden, joyous or tearful, Where art thou gleaning now?
Up from the spirit-depths ringing, Softly your melody swells, Sweet as a seraphim's singing, Tender-toned memory-bells! The laughter of childhood, The song of the wildwood, The tinkle of streams through the echoing dell, The voice of a mother, The shout of a brother. Up from life's morning melodiously swell.
Up from the spirit-depths ringing Richly your melody swells, Sweet reminiscences bringing, Joyous-toned memory-bells!-- Youth's beautiful bowers, Her dew-spangled flowers, The pictures which Hope of futurity drew,-- Love's rapturous vision Of regions Elysian, In glowing perspective unfolding to view.
Up from the spirit-depths ringing, Sadly your melody swells, Tears with its mournful tones bringing, Sorrowful memory-bells! The first heart-link broken, The first farewell spoken, The first flow'ret crushed in life's desolate track,-- The agonized yearning O'er joys unreturning, All, all with your low, wailing music come back.
Up from the spirit-depths ringing. Dirge-like your melody swells; But Hope wipes the tears that are springing, Mournful-toned memory-bells! Above your deep knelling Her soft voice is swelling, Sweeter than angel-tones, silvery clear, Singing:--in Heaven above, All is unchanging love, Mourner, look upward, thy home is not here!
I will not despair while thou rulest the storm, Though the red lightning stream o'er the cloud's sable-breast, For I catch through the darkness bright gleams of thy form, And I know 'tis thy voice lulls the tempest to rest-- The wild tempest to rest: Nor yet, though the shadows of deepening night, Hang over my path like the pall of despair; For one star through the gloom sends its hallowed light, And I know 'tis thy love smiling tenderly there, --Ah! tenderly there.
I will not despair, though the fountain that burst For me in life's desert be wasted and dry; For thy love was the fountain that cheered me at first, And again to its life-giving waters I fly-- O Holiest, fly! No; I will not despair while thy hand points me on, Though flowerless and thorny the path where I roam. For a calm sunlight rests on the far hills beyond, And I know 'tis the radiance that streams from my home, --Home, beautiful home!
A PEN PICTURE FROM THE OLD TESTAMENT.
Upon the plain of Dura stood an image great and high, With golden forehead broad and bright beneath the morning sky; All regal in its majesty and kingly in its mien, The grandest and most glorious thing the world had ever seen!
Full sixty cubits high in air the lordly head was reared, And robed in gold from head to foot the stately form appeared; Adown the breast six cubits broad, a flood of yellow gold, All deftly wrought with matchless skill, its shining tresses rolled.
And, fronting thus the rising sun, it sent back ray for ray-- A golden flood of arrowy light--into the face of day; While round its feet, in awe and dread, all Shinar stood amazed, And up into that radiant face with reverent wonder gazed.
Despite its catalog classification as 'Adventure & Picaresque Fiction,' Mrs. J. C. Yule's Poems of the Heart and Home (1881) is a collection of lyrical and devotional verse, not a work of narrative adventure. The author's introduction explicitly states that the poems are 'essentially Canadian,' written on Canadian soil and drawing from experiences in Canadian homes, schools, and forests. The excerpts reveal a focus on nature, faith, and personal reflection, with poems such as 'He Hath Done All Things Well' and 'Somewhere' exploring themes of loss and spiritual consolation.
Catalog vs. Content: A Mismatch in Genre
The Project Gutenberg record lists this work under 'Adventure & Picaresque Fiction,' yet the text contains no picaresque elements, no adventurous plot, and no fictional narrative in the conventional sense. The excerpts consist entirely of poems with titles like 'Up the Nepigon,' 'Frost Flowers,' and 'Memory Bells,' which are descriptive or meditative rather than action-driven. The author's own preface frames the poems as 'unpretending lyrics' meant to 'touch a responsive chord in many hearts,' a far cry from the swashbuckling or episodic tales typical of picaresque fiction. This discrepancy suggests that the catalog subject may have been assigned based on a broad interpretation or error, and readers should approach the book as a volume of poetry rather than fiction.
Canadian Identity in Verse
Yule repeatedly anchors her poems in Canadian settings and experiences. In the introduction, she notes that the poems are 'mainly the outgrowth of many and varied experiences in Canadian life' and that each one 'awaken[s] reminiscences of some quiet Canadian home,—some rustic Canadian school-house,—some dreamy hour in the beautiful Canadian forests.' The excerpt from 'Up the Nepigon' (likely a poem about the Nepigon River in Ontario) describes 'Nature's open volume' with 'dewy glades and opening flowers' and 'fount and forest, hill and lea,' painting a distinctly Canadian landscape. However, not all poems are explicitly local; 'Somewhere' and 'He Hath Done All Things Well' focus on universal themes of faith and the afterlife, with no specific geographic markers. The collection thus balances regional specificity with broader spiritual concerns.
Recurring Motifs: Loss, Consolation, and Nature
Several poems in the excerpts share a common thread of grief and spiritual comfort. 'He Hath Done All Things Well' is an elegy for a father, addressing 'O patient Father, honored, loved, revered!' and urging the bereaved to 'Lean on the strong, true breast, of Love more deep.' 'Somewhere' envisions a heavenly home where 'no throbbing pain / May ever come, no chilling fears,' offering solace for earthly sorrow. Even the nature poem 'Up the Nepigon' presents the natural world as a teacher, with 'All things beautiful and fair' serving as 'benignant teachers.' These poems suggest that Yule uses both personal loss and the Canadian landscape as vehicles for devotional reflection, though the excerpts are too limited to confirm whether this pattern holds throughout the entire collection.
Readers should approach Poems of the Heart and Home as a mid-19th-century Canadian poetry collection rather than adventure fiction. The author's preface and the poems themselves emphasize domestic, natural, and spiritual themes. Given the incomplete excerpts, the full range of Yule's poetic subjects and styles remains to be explored, but the available evidence points to a work rooted in personal and regional experience, with a strong devotional undercurrent.
Leafing through Mrs. Yule’s quiet verses on loss and lingering home, I felt a strange echo of another old book on my shelf. Her steady, measured faith reminded me of the calm order in The golden verses of Pythagoras — Story, Setting & Ideas. Both whisper of an inner compass, guiding one gently through the ordinary and the sorrowful alike.
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